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Typography for the Screen. Table of Contents 1 of 1 Copyright © 2015 by Rhett Forbes ScreenType Typography for the screen. Table of Contents 1 of 1 E. Anatomy of a Screen Font Table of Contents Anatomy Index (Serif) Anatomy Index (Sans-serif) Everything you need to know about screen fonts. x-height Ascenders & Descenders A. Legend Distinguishability How to use this book Exaggerated Features B. Introduction Curves Before we get started Spacing Counters & Apertures C. The Screen Contrast A History of Screen Fonts Screen Technology F. Using Type on Screen Writing With Light Sans vs. Serif Screens Today Selecting a Typeface for Screen Conclusion Testing Screen Performance Pairing Screen Fonts D. Verdana & Georgia Font Size & Line Length Verdana - A Role Model Sans-Serif Contrast and Color Georgia - A Role Model Serif G. Appendix General Typeface Anatomy Final Thoughts Bibliography H. Glossary Need to start over? Tap to return to cover. Legend 1 of 1 Legend How to use this book. Navigation Interaction Table of Contents Swipe to change state Appendix & Glossary Tap to play Return to Anatomy Index Pinch & Zoom Go to next page Scroll frame Go to next section Double tap to zoom Interactive Elements Swipe over screens to turn them on. Tap on buttons to toggel states. Tap on links for visual aids. Copyright © 2015 by Rhett Forbes All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. With every font now available online, ImagineImagine aa world where one in everyeight peopleeight had understanding how typography translates thepeople same had voice. the sameBefore voice. HTML5 Before and HTML5 CSS3 as and we to the screen is becoming an increasingly knowCSS3 asit, weeight know typefaces it, eight were typefaces used again were andused againagain onand every again website, on every that’s website, eight that’s voices eight to valuable skill-set. expressvoices to countless express countless unique individuals. unique individuals. Introduction 2 of 2 Introduction Before we get started. At heart this book is an overview of screen typography from superc a typographers point of view. In other words, this will not be another “how to use type online” books. We won’t discuss the well known principles of web design like using short headings, how to code, or why you should use rems. Rather alifrag this book will talk about the letters and fonts themselves. As you will come to learn in the following pages, on-screen typography has exploded over the past year. Resources ilistic however are difficult to find and there are few if any up-to- date standards. We will dive head first into the medium, the screen. By understanding its limitations, we can illustrate the problems screen fonts solve and why many print fonts expiali don’t perform well on-screen. We will examine fonts that do perform well and in doing so illustrate how to select and identify them in the sea of fonts we all drowned in this year. docious BUCKLE UP! The Screen 1 of 8 History of Screen Fonts From <font> to @font-face. When HTML was released in 1990, fonts were controlled by the browser. There was no way to control web type until Netscape (remember that one?) introduced the <font> tag in 1995 that quickly became standardized into HTML2. With it, designers could specify a font, but there was a catch, that font had to be on the user’s computer system, if the user didn’t have that font installed, the design would fall-back to the browser’s default and often monospace font. This limitation carried over to Cascading Style Sheets (CSS), in 1996. In 1998, CSS2 further simplified types process by separating content from style, but still relied on installed system fonts. A list of “web-safe” fonts, fonts likely to be present on most computer systems, was defined and CSS2 gave designers the ability to define a font stack, a string of defined fallback fonts. This allowed designers to define a font style, serif, sans-serif, monospace, or cursive and stack the closest matches to their intended font choice. The Screen 2 of 8 With the web growing overnight and designers choosing their own fonts, Microsoft started the Core Fonts for the Web Initiative. They released a series of freely distributable screen friendly fonts. In that list was Georgia and Verdana, which both became staple screen fonts and models for every web font to follow. Hidden inside CSS2 was a hint at the future. Web designers have a complicated relationship with Internet Explorer (IE), for many it is a thorn in our designs side. To ease that pain, we have IE to thank for modern web typography. In 1997 IE 4.0 added support for downloading remote fonts. This Verdana ability was introduced into CSS2 as the font-face rule. However, type foundries sided against the font-face rule. The delivery method made their fonts available to be downloaded and used by anyone. Font-face in CSS2 was used for grayscale anti-aliasing. It worked well for system fonts that were optimized for screen, like Georgia and Verdana, but other screen fonts did not exist at the time and print fonts made the web look even worse. IE’s font- face rule was short lived and ahead of its time and by the time CSS2.1 was released in 1999, font downloading was abandoned. Font-face would not see again for twelve years when CSS3 was released in 2011 as the @font-face rule. The Screen 3 of 8 Screen Technology The medium. Our understanding of how typography works in print does not translate directly to digital space. The ‘web page’ rode in on the metaphor of the printed page, and our tendency is to think of it that way. The truth is, there are very significant differences that directly affect type on screen. The foremost is that print is physical while the web is a digital medium; the difference is tangible. In print we carefully and accurately set static content whereas on screen, that content is dynamic, it is always changing. On top of that, content is presented at variable resolutions on screen. Print can have up to 2400 dots per inch (DPI) on a laser printer making it as clear as can be. The screen's 72 pixels per inch (PPI) makes it clear your not going to get the same clarity on screen. This PPI gap has lead typographic standards on the web from day one. However, with 72 PPI monitors, 132 PPI iPads, and 326 PPI retina displays, PPI is allowing for more and more typographic details and continues to blur the line between the printed page and web page. The Screen 4 of 8 The screen is an adaptive medium; it is not a letter sized piece of paper but every paper size there is. On screen, we design for the range of what can happen; the design we see in front of us is only a version, one that needs to adapt to countless resolutions, sizes, and devices. In contrast to paper, the screen is a dark surface where forms are written with light. Paper is viewable by the reflection of light whereas the screen projects images through the emission of light. This back-lite surface calls for a new way of thinking and changes in deep-rooted typographic standards. The Screen 5 of 8 Writing With Light Rendering text on screen. A big difference between type displayed on screen versus Glyph Outline Rendered Glyph paper is the way the text is rendered. Glyph outlines get converted into pixels, the medium. That conversion process varies across operating systems, devices, and various PPI screens and often results in a lack of consistency. This conversion happens through rendering engines. Each operating system and browser controls which rendering engines are used. Therefore, even two browsers on the same system can produce different results. Aliasing displays diagonals and curves as horizontal zigzags and vertical lines on screen. Anti-Aliasing is the method systems use to reduce aliasing by shading the edges of glyphs. This is known as grayscale rendering. The edge pixels of each glyph are not black but shades of gray, this makes the contours appear smoother, and lets a typeface’s details and personality shine through the pixels. This was a big step for type on screen, it was now more than just a legible glyph; a typeface could now have character. The Screen 6 of 8 Screens Today We have come a long way. Safari 3.1 re-sparked web fonts and brought the forgotten @font-face rule back into the lime light. It wasn’t because of an influx of screen fonts, but big advancements in the medium, the screen. LCD displays had become the norm; we all stared in awe at high resolution flat-panels that performed anti-aliasing via subpixel rendering. Most displays today have pixels made up of subpixels. Type is displayed by combining red, green, and blue subpixels. This is known as the additive color system. On paper, colors are perceived by the absorption and reflection of light off the pigments of ink on a surface. This is known as the subtractive color system. In a subtractive color system like print, the contrast of black on white is very legible. However, in an additive color system, the color white is produced with each red, green, and blue subpixel at full intensity.
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